Arch of the Rising Sun, surmounted by group representing types ofOriental civilization. "Nations of the East," designed by Calder, andexecuted in collaboration with Lentelli and Roth. From left to right:Arab sheik on horse, negro slave, Egyptian on camel, Arab falconer,Indian prince, Buddhist priest or lama from Thibet, Mohammedan withcrescent, negro slave, and Mongolian on horseback.

Murals in arch by Edward Simmons, of New York. On north wall, from leftto right, True Hope and False Hope, Commerce, Inspiration, Truth,Religion, Wealth, Family; in background Asiatic and American cities. Onsouth wall: historical types, nations that have crossed the Atlantic;from left to right, "Call to Fortune," listening to the past, theworkman, the artist, the priest, Raleigh the adventurer, Columbus thediscoverer, the savage of lost Atlantis, the Graeco-Roman, and theSpirit of Adventure sounding the call to fortune. In background, ancientand modern ships.

Arch of Setting Sun. Statues, frieze, spandrels, parapet, identical withArch of Rising Sun. Group on top, "The Nations of the West," designed byCalder, executed in collaboration with Lentelli and Roth. Americanfigures grouped around prairie wagon, drawn by two oxen. Above wagon,"Enterprise"; in front, "The Mother of Tomorrow," white boy on one side,colored boy on other; south, a French-Canadian, an Alaskan woman, aSpanish-American, a German; north, an Italian, British-American, squaw,American Indian.

Quotations on Arch of Setting Sun, chosen by Garnett. Panels from leftto right, facing court: "In Nature's infinite book of secrecy a little Ican read," from "Antony and Cleopatra," by Shakespeare, the Englishpoet;

"Facing west from California's shores, Inquiring, tireless, seeking what is yet unfound,

I, a child, very old, over waves, toward the house of maternity, theland of migrations, look afar,

Look off the shores of my Western sea, the circle almost circled. from"Leaves of Grass," by Walt Whitman the American poet; "Truth, witnessof the past, councillor of the present, guide of the future," from "DonQuixote," by Cervantes, the Spanish novelist.

Murals in Arch of the Setting Sun, by Frank Vincent Du Mond of New York."Westward March of Civilization," beginning on north and continuing onsouth wall. Four groups in north panel, from left to right, Emigrantssetting out for the west; two workmen and a woman holding child;symbolic figure of the Call to Fortune; types of those who crossed thecontinent, the driver, the Preacher, the Pioneer, the Judge, theSchoolmistress, the children; youth bidding farewell to parents; inbackground, New England home and meeting place. South wall: four groupsin panel, from left to right; two Spanish-American soldiers and captainwith a Spanish priest, suggesting Mission period; symbolical figure"Spirit of Enlightenment"; types of immigrants, the Scientist, theArchitect, the Writer Bret Harte, the Sculptor, the Painter WilliamKeith, the Agriculturist, the Laborer, women and children; Californiawelcoming the easterners, figures of California bear, farmer, miner,fruit pickers; orange tree, grain and fruit, symbols of state.

Classic groups at head of steps in front of arches leading down intogardens by Paul Manship, of New York. North side, "The Dancing Girls";south, "Music and Art."

Star-figure, along upper edge of court, by Calder. Repeated ninetytimes. Contrast with angel in front of arches.

Lion's head, on cornice below star-figure, repeated around court.

Gilt balls on the domes of all six pavilions. Represent an ornamentalmotive borrowed from the Byzantines and often used on synagogues. Afeature of St. Mark's. Dr. Jacob Nieto, rabbi of the Temple Israel, ofSan Francisco, has an interesting theory as to their origin. "Theancients always had the greatest regard for the central star of each ofthe constellations that made tip the zodiacal signs. No doubt in theirmethod of representation they would symbolize the central stars by aglobe, as they also did the sun and the moon, looking upon them all asservants of the earth, and having, possibly, no idea that these otherconstellations might be separate solar systems."

Frieze on pavilions at corners of court, "Signs of the Zodiac," Atlasand fourteen daughters, seven Pleiades and seven Hyades twelve bearingplaques, by Herman A. MacNeil, of New York. On four sides of each of thesix dome-covered pavilions. The third figure from the end on either siderepresents Electra. Sculptor, in modelling the form, put it on one sideand then reversed it on the other side. The daughters of Atlas: onlythose representing signs of the Zodiac, have shields. On each shield isone of the signs of the Zodiac. What the sculptor has designed on theright is reversed on the left, securing absolute symmetry. The figuresare finely done and merit special attention.

"Fountain of the Rising Still." Ninety-foot column crowned by figure ofRising Sun, by Adolph A. Weinman, of New York. Reliefs at base ofcolumn, "Day Triumphant"; Time, Light, Truth, Energy, conqueringFalsehood, Vice, and Darkness. Ornamental figures under upper bowllooking down into water, suggest Neptune, but are winged, "Spirit of theWaters."

"Fountain of Setting Sun." Column with figure of Setting Sun, a woman;called also "Descending Night." Reliefs at base of fountain, "GentlePowers of Night," with Dusk covering Labor, Love, and Peace, followed bythe Stars, Luna, Illusions, and Evening Mists.

Tritons in pools of Fountains of Rising and Setting Sun, by Weinman. Twostatues; one, triton struggles with snake; in the other, with fish. Twoduplicated in each pool.

Sheetlike appearance of water when full force of water is on; streamsfrom figures in pool, overflowing from bowl, spouting from lion headsabove frieze.

"The Elements," reclining figures at head of main stairs leading down tosunken gardens by Robert Aitken, of New York. In size and treatment,suggestive of Michael Angelo. Northeast, "Water," riding a wave, withhis trident in one hand, sea weed in the other. Northwest, "Fire," aGreek warrior lies in agony, grasping fire and lightning, with Phoenix,bird of flame, at back, and the salamander, reptile of fire, under hisright leg. Southeast, "Earth," a woman leaning against a tree,apparently sleeping; at back two human figures struggle to uproot tree,symbol of man's war with nature. Southwest "Air" woman holding star toear; birds, symbol of air; Icarus, mythological aviator who fell intosea, tied to wings of woman, typifying man's effort to conquer the air.

Court leading from gardens to Column of Progress. Designs repeated infrieze and in jeweled lamps of shell design, McKim, Mead & White; finedetail.

Colonnades on either side of court leading to Marina. Large Romanhanging lamps. Stars in ceilings. Beauty in design, coloring and sweepof corridor.

Frieze around main doorway in colonnades, bird and conventionalizedfoliage; skilfully designed.

On the Marina

View from Marina: Extreme right, Berkeley and Oakland; in center of bay,Alcatraz Island, like a white citadel; left of Alcatraz, Angel Island;left of Angel Island, Belvedere; left, Marin County, including Sausalitoand Mount Tamalpais, with military reservation facing the Golden Gateand looking across to the large military reservation, Presidio.

Tablets on four sides of base, in commemoration of aerial advancement.To the west, the scientific phase, a tribute to Langley, who firstsolved the problem of flying. To the north, aerial achievement. To theeast, aerial organization. To the south, history of flying.

Frieze at base on four sides celebrates beginning of progress. On southfront, two women holding palm branches, symbol of victory, call mankindto achievement.

Wreath at base of column, reward of achievement.

Top of pedestal, ornamental garland, with figure of Sphinx at corners.

Spiral, winding around column, with ships in full sail, suggestive ofupward progress of world. Similar spiral on Column of Trajan and Columnof Marcus Aurelius, in Rome.

Circular frieze sustaining main group at top, "The Burden Bearers," byMacNeil.

Group on top, "The Adventurous Bowman," the Superman, representingmoment of attainment. Three figures, the dominating male, with the malesupporter steadying his arm, and the devoted woman ready to crown himwith laurel.

First use of this kind of column for an idealistic conception.Prototypes of this column, like Trajan's Column, but to celebrate somewarlike figure or feat.

Best place to view column, from north, near California Building.

Esplanade, straight northern wall, broken by Court of Four Seasons,Court of the Universe, and Court of the Ages. Northern facades of allfour buildings, ornate doors in duplicate of Spanish plateresquedoorways.

Main doorways, rich detail. Statues in niches, by Allen Newman, of NewYork. Center, "Conquistador," sixteenth century Spanish adventurer.Figure on either side in duplicate, Newman's "Pirate," who preyed onshore commerce of South America. Humorous touch in bowlegs.

Magnificent view from Marina of San Francisco back of the Tower OfJewels. Like a painting by Cezanne.

Approaching the Court of Four Seasons From the Court of the Universe

Venetian Court.

Palaces on sides of court; to the north, Agriculture; to the south,Liberal Arts.

Quotation on Arch of Setting Sun, facing Venetian Court, chosen byGarnett. Panels from left to right: "The world is in its most excellentstate when justice is supreme," from Dante, the Italian poet; "It isabsolutely indispensable for the United States to effect a passage fromthe Mexican Gulf to the Pacific Ocean, and I am certain that they willdo it. Would that I might live to see it. But I shall not," from Goethe,the German poet; "The Universe, an infinite sphere, the centereverywhere, the circumference no where," from Pascal, the Frenchphilosopher.

Italian Renaissance architecture.

Colors rich and well harmonized; pink and green.

Picturesque lattice work in small doorways.

Lighting standards, by Faville.

Goats' heads at top of standards, just below the globe.

Arches on sides, coupled Corinthian columns. Endeavor to make them moreinteresting than formal type of fluted columns. Four designs. They addto richness of court.

Winged figures over arches, by Faville.

Blue medallions above arches, Faville. Italian adaptation of Byzantine,Ship of State, the Bison, the Twins holding garlands representingabundance, the horn of plenty and cadeucus, and tree.

Coloring under eaves, bright shades, blue and orange.

Planting, by McLaren, well-massed, in great profusion.

Court of Four Seasons

Court of Four Seasons, Henry Bacon, of New York, architect. Hadrian'sVilla used as model for half-dome and columns in front of fountain.Italian Renaissance in feeling. Every detail in classic spirit. Givesimpression of seclusion and peace.

Quotations on gateways chosen by Garnett. On the eastern gateway, "Soforth issew'd the seasons of the yeare - first, lusty spring all dightin leaves and flowres - then came the jolly sommer being dight in a thincassock coloured greene, then came the autumne all in yellow clad -lastly came winter cloathed all in frize, chattering his teeth for coldthat did him chill," from "The Faerie Queene," by Edmund Spenser. On thewestern gateway, "For lasting happiness we turn our eyes to one alone,and she surrounds you now, great nature, refuge of the weary heart andonly balm to breasts that have been bruised. She bath cool hands forevery fevered brow and gentlest silence for the troubled soul," from"The Triumph of Bohemia," by George Sterling.

Figures on composite columns at right and left of half-dome, "Rain" and"Sunshine," Albert Jaegers. "Rain," a woman shielding head with mantleand holding shell; "Sunshine," woman shading head from sun with palmbranch.

Capitals of columns of "Rain" and "Sunshine," agricultural figures,small harvesters. Modelled by Donnelly and Ricci after designs of thearchitect.

Pedestals at base of columns, agricultural scenes in low relief,modelled by Donnelly and Ricci after designs of the architect. Farmersgoing to work with women and children and dog.

In niches at corners of court, "Fountains of the Seasons," surmounted bystatue groups representing seasons, Furio Piccirilli, of New York.

Delicate pink tinting of walls in niches, by Guerin, in imitation ofpink marble.

Columns of colonnades, Ionic, with harvest suggestion in ears of cornhanging from capitals, flower at top.

Flower boxes, in walls of niches near top and at top; African dew planthanging over edge; give note of age and break sharp outline of wallagainst sky, and contrast with color of background.

Roman fountain, "Dome of Philosophy," by Faville; simplest and one ofthe most beautiful of the fountains on grounds. Suggested by fountainsin Sienna and Ravenna.

Palace of Fine Arts

Palace of Fine Arts, Bernard R. Maybeck, of San Francisco. Conceptioninspired by Boecklin's painting, "The Island of the Dead." Rotunda likePantheon in Rome. Colonnade suggested by Gerome's "Chariot Race."Columns at end of colonnade, hint of Forum. Greek suggestion inCorinthian columns and fretwork and frieze around rotunda. Roof gardenor pergola around edge of roof and the Egyptian red of wall givesEgyptian note. Suggestion of overgrown ruin; atmosphere of melancholybeauty. Originality of architectural design and treatment.

Curved hedge, obscuring view of floor of rotunda from opposite side oflagoon, by John McLaren. African dew plant, as in south hedge. Laurelsand willows were originally planned to cover hedge and to reach to topof columns. Monterey cypress at north end of colonnade.

Kneeling figure on altar directly in front of rotunda, "Reverence," byRalph Stackpole. Can be seen from across pool only.

Panel over doorway, by Mahonri Young, Ogden, Utah; figures of domesticlife and industries, making of glass, metal work, statuary, textiles.Figures at side, to left, woman with spindle; to right, man withsledge-hammer.

Flat columns at side of portals, pilasters. Corinthian.

Lion, over centerpiece of arch.

"Victory," on gables by Louis Ulrich, like the winged figure used by theGreeks, " Blessings on this house."

Festival Hall, Robert Farquhar, of Los Angeles, architect. Modern Frencharchitecture, of the Beaux Arts style, Paris. Used in many Frenchtheatres; not a natural growth in this country, but growing in favor;building arrangement fine. Details from Le Petit and Le Grand Trianon.Coloring. light green, not so effective as on Horticultural Palace,popular with French architects.

Figure on corner domes, "The Torch Bearer," Sherry F. Fry, of New York.

Figures on sides of shield over big central arch, by Fry. Decorative.West entrance.

Reclining figures, above, on sides of entrance, by Fry. To right,Bacchus with grapes and wine-skin. To left, a woman listening.

Groups in front of ball, on sides of stairway, by Fry. "Flora," flowergirl on pedestal, repeated. On left below pedestal, "Young Pan," seatedon Ionic capital covered with fawn skin, his music arrested by sight oflizard. On right, young girl seated.

Recital Hall, on the second floor of Festival Hall, eastern end,contains fine stained glass windows. Designer and executor, Charles J.Connick, of Boston. Three windows, a small one or, the landing of thenorth stairway, and two larger ones on the west wall of the hall itself.

On the stairway. Figure of a young monk bearing a scroll inscribed with"Venite exultamus domin" ("Come, let us exalt the Lord").

In the hall, window to the left. In the large tipper section, a figureof St. Martha of Bethany. Below, Christ and three women, one kneeling.

In the hall, window to the right. In the large tipper section, figuresof two men, the wise men, one watching the star, one seated reading; anowl and a lantern in the window also. In the small section below, a shipwith a cross on the main sail; the cross is of the design used in theCrusades.

Court of Flowers

Court of Flowers, by Kelham. Italian Renaissance, Byzantine touches.Opposite Festival Hall, between Palaces of Varied Industries and Mines.Details different from Court of Palms; ornament richer.

Figure on tower, "The Fairy," by Carl Gruppe.

Palaces at sides of court: to the west, Manufactures; to the east,Varied Industries.

Italian towers, by Kelham, same feeling. Outlines on top different fromthose in Court of Palms.

"The American Pioneer," equestrian statue at entrance, by Solon Borglum,of New York. Patriarchal. Suggests Joaquin Miller. Warlike trappings ofhorse picturesque, but sixteenth century Spanish, out of place.

Spanish loggia around second story of court, southern in feeling,implying warm climate.

Conventionalized lions in pairs at portals, by Albert Laessle, ofPhiladelphia.

Fountain, "Beauty and the Beast," by Edgar Walter, of San Francisco.Sandals and hat on woman. Beast at her feet. Fauns and satyrs, piping,under circular bowl. Frieze outside edge of bowl, lion, bear, ape, andtiger repeated; playful. Designed for Court of Palms to be seen fromabove.

Lophantha trees, trimmed four feet from ground, branching out six feetacross, along walks.

Vista through fairy-like Court of the Ages to Florentine Tower and bluesky beyond, from south entrance of Court of Flowers.

Pope Calixtus III sent for a Spanish goldsmith, Diaz, to do work for himin Rome. Diaz returned to Spain, carrying the influence of the ItalianRenaissance. He met the son of the architect of the cathedral at Toledo,De Egas. To the son he imparted his knowledge and the son applied it toarchitecture, creating the plateresque style. Till then all Spanishcathedrals had shown the Gothic influence from the north.

Figures on large door by Stackpole. Upper figures, "Age Transferring HisBurden to Youth," America. Figure in center piece of arch, "Power ofIndustry," the American workman. Figures in half circle above door,"Varied Industries," from left to right, Spinning, Building,Agriculture, Manual Labor, and Commerce. Figure repeated four times inlower niches, "Man with the Pick."

"California Bear" and "California Shield" on buttresses, or squarecolumns supporting wall. Used in old mission buildings.

Avenue of Progress

Planting, some of the best landscape effects in Exposition. Againstbuildings, Monterey cypress; banked by Lawson cypress in front andbetween these, spruces and Spanish fir.

Machinery Palace, Ward & Blohme, of San Francisco, architects. ItalianRenaissance, inspired by Roman baths. Like Baths of Caracalla. Largestbuilding of its kind in world; three blocks long, seven acres in area.

Banners, by Ryan, heraldic designs of early Spanish explorers andsoldiers.

Lophantha lawn, designed by John McLaren, trees trimmed off four feetabove ground, and trained to grow flat alongside Palace of VariedIndustries.

East facade of Varied Industries, made Italian to harmonize with ItalianMachinery Palace.

"Genius of Creation," group before court leading to Court of Ages,Daniel Chester French. Spirit above, a woman, creating life fromshapeless mass of earth below. Man at left, courageous and enterprising;woman at right, timid, hesitating. Serpent, symbol of wisdom, coiledabout mass.

Tower at north entrance, suggestive of French cathedral architecture,massive, but gives appearance of lightness. One of the great successesof the Exposition.

"The Rise of Civilization," groups of sculpture on tower, by ChesterBeach. Central idea, evolution, Stone Age, Mediaeval Age, and PresentAge. "Primitive Man," lowest group, just above great reptiles inforeground. Man is holding child and protecting mate. "Mediaeval Age"directly above, Crusader in center, Priest and Warrior on sides. Thecandlesticks on sides of crusader, used in mediaeval churches, the lightof understanding. On sides of altar, "Modern Man and Woman," strugglingfor freedom from the physical to the spiritual. "Spirit of Intelligence"enthroned above; on one side, child with book; on the other side, childwith wheel of industry.

"Thought," figure on east and west sides of tower. Candlesticks atsides.

Design on upper part of tower, suggested by the lily, emblem of purity.

Star clusters, at south end of court and in north court, by Ryan,modeled from snow crystal, and deepening the ecclesiastical character ofthe court by suggesting the golden monstrance, shaped like the rays ofthe sun, used in the Catholic church and, in the small glass-coveredcircle at the center, holding the sacred host.

"Water Sprites," by Leo Lentelli. Girl archers on top of columns at fourcorners of central court, launching arrow at sprites on base of columns.Originally designed as fountains.

Serpent cauldrons, around pool, designed by Mullgardt.

"Fountain of the Earth," by Robert Aitken, in center of court. Two Partsto fountain; large central one with globe representing earth, surroundedby panels showing life on earth; and on same pedestal to south, groupsrepresenting life before and after death. "Setting Sun," group atextreme south of pool, by Aitken. Man holding golden ball, Helios;serpent, heat of sun.

Figures on west side of southern group, "The Dawn of Life." Hand ofDestiny giving life, pointing toward earth; Sleep of Woman before Birth;the Awakening; Joy of Life; Kiss of Life; Birth. Gap to central grouprepresents time between peopling and history.

Panels around earth; South Panel; Vanity in center with handglass; manand woman with children, representing Fecundity, starting on earthlyjourney.

North Panel: "Physical Courage" or "Awakening of War Spirit." Two menfight for possession of woman on left. Woman on right attempts to drawone aside.

East Panel: "Lesson of Life." Old woman gives counsel to young man andwoman. Old man restrains an angry, jealous youth.

Right of south panel, "Lust."

East side of southern group: Greed, looking back on earth. Faithoffering Immortality, symbolized by scarab, to Woman. Figures of man andwoman sinking back into oblivion, "Sorrow" and "Sleep." Hand of Destinydrawing mortality to itself.

Hermae, pillars with head of Hermes, god of boundaries, separatingpanels around earth.

Large cauldrons, at side of steps leading down to sunken gardens,designed by Mullgardt.

North Entrance to Court of Ages

"Daughter of Neptune" or "Aquatic Life," large female figure in northCourt of Ages, by Sherry E. Fry.

Planting: eucalyptus, acacia, laurel.

Features that Ought to be in Noted by Night

Illumination

Three kinds of light used; white arc lamps, extensively behind bannersand shields to flood facades of outer walls and Court of Four Seasons;warmer light of Mazda lamps in clear and colored globes; andsearchlights concealed on tops of buildings trained on towers and onhigh groups of sculpture.

Lighting scheme and scope completed long before buildings were up; madepossible by advance in illuminating engineering, developed under name ofscience of lighting and art of illumination.

Chief of Department of Illumination, Walter D'Arcy Ryan, of the GeneralElectric Company, Schenectady, New York; field assistant, A. F.Dickerson.

Ornamental details of lighting standards and fixtures, designed by J. W.Gosling; designs made at Illuminating Engineering Laboratories,Schenectady.

Keynote of lighting scheme - life and gaiety, without garishness.

Lighting kept subordinate to architecture; walks shaded to throwemphasis on brilliantly lighted facades and to bring out architecture,landscape and flowers. Same lighting principle used throughout; buteffect in different courts radically different.

Area of surface illuminated, 8,000,000 square feet; 2,000,000 of wallsurface, and 6,000,000 of ground surface.

Number of searchlights used: 373 arc searchlights, in diameter from 13to 36 inches; 450 small searchlights, called the "Mosquito Fleet"; 250incandescent projectors for flag lighting.

Fillmore Street Entrance

South facade of entrance, outline illumination, with bare electriclights following outlines of architecture; used elsewhere only in Zone.

Along Avenue of Progress: fine flag display; no direct sources of light;banners; beautiful scenes made by planting against walls and quality ofgreen on lawn; daylight effect from luminous arcs which produce whitestartificial light in use.

Gas lights on tops of booths, emergency lights if electricity fails.

Banners and heraldic shields, designed by Ryan; banners, of earlyexplorers and pioneers, heraldic shields related to history ofCalifornia, Mexico, Central America, and Pacific Ocean.

Purpose of banners: to form beautiful lines of color, to screen eyesfrom direct light source, to reflect light toward buildings, and tosuggest history of court.

View of central fountain in Court of Ages: glow of red lights, faintshimmer in pools, steam rising to suggest the earth cooling after beingthrown off by the sun.

Court of the Ages

Court of the Ages: mystery in blending of illumination from searchlightsabove; lack of direct illumination on court itself; steam cauldrons,with illumination, incandescent lights, gas torches in small serpentcauldrons, lanterns in arches of the arcade that burn around cloister.

Fountain of Earth in center of pool, carrying mind down the ages tocorrespond with architect's conception of court.

Steam rising from base of fountain; figures silhouetted in warm redglow; lighter tone of red at upper portion of ball; shimmeringreflection of panels, with red background in pool at sides of fountain.

Serpent cauldrons, around edge of pool, to heighten weird effect, by theflickering of the gas lamps.

Large cauldrons at east and west entrances; effect of simmering moltenliquid.

Steam used in court, obtained from twenty horse-power boiler undertower.

Main tower, only tower without direct light thrown on exterior;religious feeling, increased by candlesticks, two on each side; steam tosuggest smoke drifting upward.

Reflection of tower in pool, to be seen from south.

Cathedral appearance of windows at sides of court, by illumination inwarm orange tone from within.

Sunburst standards modelled in imitation of snow crystal, and resemblingmonstrance used in Catholic church; two at south of court; only largelight sources in court; contrast with other illumination.

Two fairy lanterns in each arch around court.

Brangwyn murals lighted without glare by indirect diffusion from fourcorners.

Play of lights along colonnade; lighting on murals adds to apparentdistance.

North Entrance to Court of the Ages

Similar treatment of lights, brighter than in central court; four starclusters, sixteen serpent cauldrons; effect heightened.

Tower, more beautiful from Marina side; note of refinement illuminationin altar, shadow in two colors, created by red light illuminated by paleamber lights.

Fine shadow effects against walls; vertical shadows of columns in archescontrasted with shadows of trees and shrubbery.

Court of the Universe

Arch of Rising Sun; light through latticed windows in arch to give faintspots of luminous color.

Illumination of main and side arches; curvature preserved and detailsthrown into relief by lights of different strengths and colors;concealed red light on one side and pale lemon light on other sidethrown on arch. All main arches similarly accentuated.

Urns in side arches, effect heightened by lights thrown from sides,bring out lines; red on one side, on the other pale green.

Colonnade, illuminated by three translucent shell cups sunk into centralgroove of each column at rear; spear of light from each shell up thegrooves or fluting; pleasant glow through shells from below. Effect ofmelted gold, suggesting the tongues of fire mentioned in the Scriptures.

Sculptural groups on Arches of Rising and Setting Sun, flooded withlight from searchlights, creating black shadows, in turn illuminated bypurple lights on top of arch. Figures thrown into relief.

Star figures around court above colonnades, jewelled; each has forty-twostones, illuminated by small searchlights on opposite side of court.Early evening, pretty effect; little jets of light from figures shootacross the court in clearly defined rays. Later, flood of lights fromcolumns in court above the small rays.

Bear fountains at sides of Palaces of Manufactures and Liberal Arts,north of Tower of Jewels; three on each wall in flat niches; coloring,pink wall, turquoise blue, green; lights concealed under water; whenwater is flowing, wavering light like heat waves; niches hardlynoticeable when water is not flowing.

Tower of Jewels, interior of main arch, accentuated by lights at sidesabove columns; no illumination on murals.

In niches at either side, Fountains of Youth and El Dorado,flood-lighted from above; no colored lights; two single lamp standardsin each court; reflection of fountain figures in pools.

On the Way to the Marina

Lighting of colonnades, vivid pinks and blues. Illumination in colonnadefrom lamps concealed in cups in one of the inner flutes of each column.Notice reflections of colonnade in pool.

Column of Progress; flood light on figures on top of column bysearchlights.

On the Marina

North facade of buildings, tall dark-green planting against walls, blackvertical shadows; shading of lawn; flood light standards, spots of dullorange light through translucent rigid shields. Spots of light fromsingle globes along avenue, on water front, white lights on booths; glowfrom lamps at entrance to Court of Four Seasons.

"Adventurous Bowman," profile view of group from entrance to Court ofFour Seasons; outlined against blue-black sky; stars, in sky about it,mere points of light. Group sometimes reproduced in the fog.

Venetian Court

Inner Court, between Court of the Universe and Court of Four Seasons.

Only illumination, single globe standards. Contrast of brightillumination in Court of Universe with more subdued light in Court ofFour Seasons.

Coloring, pink walls in harmony with walls of corridors in Courts ateither end.

Planting, low shrubbery, with tall trees massed in corners.

Court of the Four Seasons

Court of Four Seasons; flood illumination on the bulls at sides, glowinghalf-dome at south, figure of "Harvest" above dome, and twin Italiantowers at sides.

Illumination of court in harmony with architecture, very quiet.

Charm of lighting in colonnades against Pompeian red walls; three halfglobes in cups at rear of plain columns.

Fountains of Four Seasons, illumination of red walls against intenseblue of sky, in early evening like color in paintings by MaxfieldParrish. Concealed lights, red, orange, yellow and lemon, fall on wallsand create interesting luminous shadows on fountain figures.

Water falling from cascades, a luminous green; not only are lightsconcealed, but also reflection of sources, an effect that, it waspredicted, could not be achieved.

Figures on fountains reflected in green water.

Reflections in pool in center of court; from north, half dome and figureof "Harvest" above dome; from south, the bulls on the pylons.

Half dome in Court of Four Seasons; even distribution of light, ceilinglighted from base of dome, lights diffused through dome and softlygraded down to floor by ten shell lamps up wall, back of verticalprojection on each side.

Through Aisle of Spring to Administration Avenue, facing Palace of FineArts.

Illumination, "triple moonlight," three times the strength of the moon'srays. Searchlights flood the building; concealed yellow lights oncornices in rear of columns. Three effects; flood lighting, relieflighting, and combination of both. One night, flood light; next,combination.

Reflections in lagoon, from along colonnade, north of rotunda; Westfacade of walled city, with half domes of Palaces of Education and FoodProducts, and dim reflections of Italian towers. Changing reflectionsall along colonnade, and from rotunda.

Rotunda, on nights when relief illumination is used, lights on capitalsof Corinthian columns; deep color effects in murals on dome.

View of palace from south across lagoon, with flood lights on rotundaand colonnade.

Avenue of Palms

Quality of light brings out color detail; fine display of flowers;massing of shrubbery at base of wall, and tall trees casting verticalshadows.

Elephant and lion fountains along south wall; colors, pink and blue;rippling of water causes light to wave.

Court of Palms, illumination of towers from searchlights. Only directlight, from single white globes painted to imitate Travertine, and Romanhanging lamps around in corridors; faint red shines through from below.

Reflections in circular and rectangular pools; north, east, and westportals; the columns, the colonnades at sides of entrances, the muralsabove doorways; pinks, blues, reds, orange.

Murals above east, west, and north doorways, best effect at night.Illumination at base of arches throws light on upper part of mural,shading softly and gradually down to base.

Palace of Horticulture

Dome of Palace of Horticulture; beams of light from concealedsearchlights play through revolving lenses and color screens of green,orange, and red, fading slowly into each other in moving designs onglass dome.

Floral hanging lamps in east and north entrances; deep green of latticework in domes above; hanging lamps along porches, pearl-white light.